Tap into your inner writer with this book of practical advice by the bestselling author of How Writers Work and the ALA Notable Book Fig Pudding. Writers are just like everyone else—except for one big difference. Most people go through life experiencing daily thoughts and feelings, noticing and observing the world around them. But writers record these thoughts and observations. They react. And they need a special place to record those reactions. Perfect for classrooms, A Writer’s Notebook gives budding writers a place to keep track of all the little things they notice every day. Young writers will love these useful tips for how to use notes and jottings to create stories and poems of their own.
Genkouyoushi Notebook - Kanji and Kana Characters Writing Practice Book This stylish traditional notebook style workbook contains 120 pages of kanji paper, also known as genkouyoushi paper. Each large square holds one character and each square is divided into four quadrants to guide the correct positioning of the elements of each character. This notebook is ideal for both adults and children who are learning Japanese and need to practice the written language. Size: 8.5 x 11 in. 120 Pages of Kanji Paper Premium matte finish soft cover Printed on white paper
Inga Karetnikova’s method is that of the art teacher: she asks students to study great works in detail, to analyze them, and then to create their own. She stresses that her examination is "interested only in how the scripts are written and what makes them work, not in a cultural or scholarly examination of them." Karetnikova analyzes eight screenplays—TheGodfather, Rashomon, La Strada, Bicycle Thief, Nosferatu, The Servant, Viridiana, Notorious—anda novel written in screenplay form, Kiss of the Spider Woman. Each serves as an example of a particular aspect of screenplay writing: composing scripts, developing characters, constructing suspense, adapting literature to cinematic space and time, and weaving details and motifs within a script. Karetnikova urges film students to work on their own screenplays while studying her book, reading the suggested scripts and viewing the films based on them to get the most from her method. She provides a series of exercises for each chapter to help students master the skills of composing and writing film treatments, developing screen stories and their characters, organizing scenes, and writing dialogue. Each of the exercises has worked successfully in her own screenplay-writing classes.
"The phonograph and the typewriter may be things of the past, but this book will resonate with readers who are engaged daily with computer networks, hypertexts, and the forms that mass media will take in the new century."--BOOK JACKET.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
One of the most popular and useful books on screenwriting, now greatly expanded and completely updated. This edition includes a list of resources and contains approximately 100 new entries.
When Amelia’s mom gives her a journal for her birthday, she finally has a place to share her truest feelings at last! Nine-year-old Amelia’s mother gives her a blank notebook to write down her thoughts and tells her it will make her feel better. Why would a dumb notebook make me feel better, Amelia thinks. The only thing that will make Amelia feel better is going back to old house, her old school, and her old friends. Amelia does not—do you hear this!—want to move. But no one is listening to Amelia.
In recent years, the world of animation has expanded far beyond the Saturday morning cartoons that generations of Americans grew up watching. Recent years have seen a boom in animation—hit prime-time television series, blockbuster cutting-edge digitally animated features, conventional animation. The expanding market is luring writers who have an eye toward the future and an eagerness to work in a medium where the only limit is the depth on one’s imagination. With step-by-step instructions and the insights of a seasoned veteran, award-winning animation writer Jeffrey Scott details the process of developing even the vaguest of ideas into a fully realized animation script. He details every stop on the road from inspiration to presentation, with sections on premises, outlines, treatments, description, and dialogue, and much more.
This is the first and only book (which I am aware of) that is exclusively dedicated to a comprehensive system of bind runes created from the Elder Futhark! At a glance, it provides the following: * Easy-to-read and easy-to-use information with no expert rune knowledge required * Contains 24 black and white Elder Futhark bind runes, each with an unique stanza * Discusses the bind runes as active tools for magick, spiritual and/or self-empowerment rituals * Guidance on the purpose and use of each bindrune * Designs include additional western alchemical elements as well as a novel alchemical symbol of my own design My studies into the Elder Futhark, which have fascinated me since childhood, have been converted into a coherent system of bindrunes for everyday use without the requirement of expert knowledge. I have named this bindrune project; the Celestial Rune Sigils. It started as a set of magickal tools with which to facilitate self-improvement through the exploration of spirituality. Subsequently, I have transformed the bindrunes into a set of 24 black and white sigils, representative of their origins from the 24 Elder Futhark Runes. The sigils were initially featured on the Celestial Rune Sigils oracle deck (more details on my website) and now they have been converted into book format as well! In this book I provide guidance on the crafting, uses and invocation of the Celestial Rune Sigils. These sigils are not merely meant for use in divination, but rather they have a more active role with each sigil having a specific intention and contribution towards metaphysical, spiritual and magickal rituals. Therefore, the Celestial Rune Sigils are not only restricted to tarot readers or oracle enthusiasts. They have been created for the larger metaphysical community and would be of special interest to our energy workers and magick wielders. They are appropriate for most ages, including the very young and those who are wiser, since they can be used for both personal rituals and to assist clients during various healing and/or magick sessions. The Celestial Rune Sigils represent a metaphysical, spiritual or magickal toolbox, with each sigil representing a different metaphysical tool. Each sigil can be used in this way, much as one would use a wand, crystal or other spiritual tool. There is a lot of freedom as to how precisely to apply each card and I hope that the practitioners who make use of this book will find their own intuitive ways of applying each of the sigils during their spiritual journeys and magickal rituals. I appreciate any feedback, comments and/or reviews about this book as I am constantly striving to improve on the system and to make it relatable to all my fellow rune enthusiasts!
